Conceptual photography is often regarded as self-serious and academic. Yet, since the very inception of conceptual art in the 1960s, many such artists have strategically employed humour to provoke and meaningfully engage the viewer, as well as challenge visual norms. Despite being humorous, this work remains intellectually rigorous and profound.
Robert Cumming
67-Degree Body Arc Off Circle Center, 1975/2022
Digital pigment print
148.7 × 185.4 cm | 58 1/2 × 73 inches (framed)
Edition of 5 + 1 AP
Robert Cumming
67-Degree Body Arc Off Circle Center, 1975/2022 (detail)
Robert Cumming
67-Degree Body Arc Off Circle Center, 1975/2022 (detail)
William Wegman
Experiment, 1973
Gelatin silver prints
49.7 × 70 cm | 19 5/8 × 27 5/8 inches (framed)
William Wegman
Experiment, 1973 (detail)
William Wegman
Experiment, 1973 (detail)
John Baldessari
Portrait: Artist’s Identity Hidden with Name/Date Cards (4 MR. 74), 1974
Six black-and-white photographs
Each: 35.2 × 27.9 cm | 13 7/8 × 11 inches
Each (framed): 36.2 × 28.6 × 3.5 cm | 14 1/4 × 11 1/4 × 1 3/8 inches
John Baldessari
Portrait: Artist’s Identity Hidden with Name/Date Cards (4 MR. 74), 1974 (detail)
John Baldessari
Portrait: Artist’s Identity Hidden with Name/Date Cards (4 MR. 74), 1974 (detail)
John Baldessari
Portrait: Artist’s Identity Hidden with Name/Date Cards (4 MR. 74), 1974 (detail)
John Baldessari
Portrait: Artist’s Identity Hidden with Name/Date Cards (4 MR. 74), 1974 (detail)
John Baldessari
Portrait: Artist’s Identity Hidden with Name/Date Cards (4 MR. 74), 1974 (detail)
John Baldessari
Portrait: Artist’s Identity Hidden with Name/Date Cards (4 MR. 74), 1974 (detail)
Robert Cumming
67-Degree Body Arc Off Circle Center, 1975/2022
Digital pigment print
148.7 × 185.4 cm | 58 1/2 × 73 inches (framed)
Edition of 5 + 1 AP
Robert Cumming
67-Degree Body Arc Off Circle Center, 1975/2022
Digital pigment print
148.7 × 185.4 cm | 58 1/2 × 73 inches (framed)
Edition of 5 + 1 AP
Robert Cumming
67-Degree Body Arc Off Circle Center, 1975/2022 (detail)
Robert Cumming
67-Degree Body Arc Off Circle Center, 1975/2022 (detail)
Robert Cumming
67-Degree Body Arc Off Circle Center, 1975/2022 (detail)
Robert Cumming
67-Degree Body Arc Off Circle Center, 1975/2022 (detail)
William Wegman
Experiment, 1973
Gelatin silver prints
49.7 × 70 cm | 19 5/8 × 27 5/8 inches (framed)
William Wegman
Experiment, 1973
Gelatin silver prints
49.7 × 70 cm | 19 5/8 × 27 5/8 inches (framed)
William Wegman
Experiment, 1973 (detail)
William Wegman
Experiment, 1973 (detail)
William Wegman
Experiment, 1973 (detail)
William Wegman
Experiment, 1973 (detail)
John Baldessari
Portrait: Artist’s Identity Hidden with Name/Date Cards (4 MR. 74), 1974
Six black-and-white photographs
Each: 35.2 × 27.9 cm | 13 7/8 × 11 inches
Each (framed): 36.2 × 28.6 × 3.5 cm | 14 1/4 × 11 1/4 × 1 3/8 inches
John Baldessari
Portrait: Artist’s Identity Hidden with Name/Date Cards (4 MR. 74), 1974
Six black-and-white photographs
Each: 35.2 × 27.9 cm | 13 7/8 × 11 inches
Each (framed): 36.2 × 28.6 × 3.5 cm | 14 1/4 × 11 1/4 × 1 3/8 inches
John Baldessari
Portrait: Artist’s Identity Hidden with Name/Date Cards (4 MR. 74), 1974 (detail)
John Baldessari
Portrait: Artist’s Identity Hidden with Name/Date Cards (4 MR. 74), 1974 (detail)
John Baldessari
Portrait: Artist’s Identity Hidden with Name/Date Cards (4 MR. 74), 1974 (detail)
John Baldessari
Portrait: Artist’s Identity Hidden with Name/Date Cards (4 MR. 74), 1974 (detail)
John Baldessari
Portrait: Artist’s Identity Hidden with Name/Date Cards (4 MR. 74), 1974 (detail)
John Baldessari
Portrait: Artist’s Identity Hidden with Name/Date Cards (4 MR. 74), 1974 (detail)
John Baldessari
Portrait: Artist’s Identity Hidden with Name/Date Cards (4 MR. 74), 1974 (detail)
John Baldessari
Portrait: Artist’s Identity Hidden with Name/Date Cards (4 MR. 74), 1974 (detail)
John Baldessari
Portrait: Artist’s Identity Hidden with Name/Date Cards (4 MR. 74), 1974 (detail)
John Baldessari
Portrait: Artist’s Identity Hidden with Name/Date Cards (4 MR. 74), 1974 (detail)
John Baldessari
Portrait: Artist’s Identity Hidden with Name/Date Cards (4 MR. 74), 1974 (detail)
John Baldessari
Portrait: Artist’s Identity Hidden with Name/Date Cards (4 MR. 74), 1974 (detail)
Conceptual photography is often regarded as self-serious and academic. Yet, since the very inception of conceptual art in the 1960s, many such artists have strategically employed humour to provoke and meaningfully engage the viewer, as well as challenge visual norms. Despite being humorous, this work remains intellectually rigorous and profound.
Seriously. is a group exhibition curated by Nana Bahlmann, featuring over a hundred conceptual photographs, print media, and select films ranging from the 1960s to the present, which expose the absurdities of our world and its representations.
Keith Arnatt
The Absence of the Artist, 1968
Black and white photograph
28.9 × 28.9 cm | 11 3/8 × 11 3/8 inches
36.4 × 36.4 cm | 14 1/4 × 14 1/4 inches (framed)
Edition of 8 + 2 AP
Keith Arnatt
The Absence of the Artist, 1968
Black and white photograph
28.9 × 28.9 cm | 11 3/8 × 11 3/8 inches
36.4 × 36.4 cm | 14 1/4 × 14 1/4 inches (framed)
Edition of 8 + 2 AP
Keith Arnatt
The Absence of the Artist, 1968
Black and white photograph
28.9 × 28.9 cm | 11 3/8 × 11 3/8 inches
36.4 × 36.4 cm | 14 1/4 × 14 1/4 inches (framed)
Edition of 8 + 2 AP
Seriously. is a group exhibition curated by Nana Bahlmann, featuring over a hundred conceptual photographs, print media, and select films ranging from the 1960s to the present, which expose the absurdities of our world and its representations.
Astrid Klein
Untitled (Sagen Sie nicht, daß er fett war), 1977
Photowork
177 × 124.5 cm | 69 3/4 × 49 inches
188.5 × 135.1 cm | 74 1/8 × 53 1/8 inches (framed)
Edition of 2 + 1 AP
Astrid Klein
Untitled (Sagen Sie nicht, daß er fett war), 1977
Photowork
177 × 124.5 cm | 69 3/4 × 49 inches
188.5 × 135.1 cm | 74 1/8 × 53 1/8 inches (framed)
Edition of 2 + 1 AP
Astrid Klein
Untitled (Sagen Sie nicht, daß er fett war), 1977
Photowork
177 × 124.5 cm | 69 3/4 × 49 inches
188.5 × 135.1 cm | 74 1/8 × 53 1/8 inches (framed)
Edition of 2 + 1 AP
Through visual wit, subversiveness, and even outright slapstick, these photographic experiments offer humorous conceptual investigations of how images are constructed and interpreted.
Employing a range of strategies, from masquerade and role-play to the construction of inexplicable scenarios, unexpected juxtapositions, and idiosyncratic sculptural compositions, these works reveal the farcical and fantastical within the visual realm.
Birgit Jürgenssen
Housewife’s Kitchen Apron, 1975/2024
Black and white photograph on Baryta paper, diptych
60.3 × 78.8 cm | 23 3/4 × 31 inches (framed)
Edition of 18
Helen Chadwick
In the Kitchen (Washing Machine), 1977
Color archival pigment print
51 × 41 cm | 20 × 16 1/8 inches (framed)
Edition of 10 + 2 AP
Birgit Jürgenssen
Housewife’s Kitchen Apron, 1975/2024
Black and white photograph on Baryta paper, diptych
60.3 × 78.8 cm | 23 3/4 × 31 inches (framed)
Edition of 18
Birgit Jürgenssen
Housewife’s Kitchen Apron, 1975/2024
Black and white photograph on Baryta paper, diptych
60.3 × 78.8 cm | 23 3/4 × 31 inches (framed)
Edition of 18
Helen Chadwick
In the Kitchen (Washing Machine), 1977
Color archival pigment print
51 × 41 cm | 20 × 16 1/8 inches (framed)
Edition of 10 + 2 AP
Helen Chadwick
In the Kitchen (Washing Machine), 1977
Color archival pigment print
51 × 41 cm | 20 × 16 1/8 inches (framed)
Edition of 10 + 2 AP
Sigurður Guðmundsson
Dancing Horizon, 1997
C-print, text
25.5 × 39.5 cm | 10 × 15 1/2 inches (framed)
Edition of 1 + 1 AP
Sigurður Guðmundsson
Dancing Horizon, 1997
Sigurður Guðmundsson
Dancing Horizon, 1997
C-print, text
25.5 × 39.5 cm | 10 × 15 1/2 inches (framed)
Edition of 1 + 1 AP
Sigurður Guðmundsson
Dancing Horizon, 1997
C-print, text
25.5 × 39.5 cm | 10 × 15 1/2 inches (framed)
Edition of 1 + 1 AP
Sigurður Guðmundsson
Dancing Horizon, 1997
Sigurður Guðmundsson
Dancing Horizon, 1997
Keith Arnatt
Self-Burial, 1969
Nine black and white photographs
Each: 39 × 39 cm | 15 3/8 × 15 3/8 inches
Each (framed): 47.2 × 47.2 cm | 18 5/8 × 18 5/8 inches
Edition of 3 + 2 AP
Keith Arnatt
Self-Burial, 1969 (detail)
Keith Arnatt
Self-Burial, 1969 (detail)
Keith Arnatt
Self-Burial, 1969 (detail)
Keith Arnatt
Self-Burial, 1969 (detail)
Keith Arnatt
Self-Burial, 1969 (detail)
Keith Arnatt
Self-Burial, 1969 (detail)
Keith Arnatt
Self-Burial, 1969 (detail)
Keith Arnatt
Self-Burial, 1969 (detail)
Keith Arnatt
Self-Burial, 1969 (detail)
Keith Arnatt
Self-Burial, 1969
Nine black and white photographs
Each: 39 × 39 cm | 15 3/8 × 15 3/8 inches
Each (framed): 47.2 × 47.2 cm | 18 5/8 × 18 5/8 inches
Edition of 3 + 2 AP
Keith Arnatt
Self-Burial, 1969
Nine black and white photographs
Each: 39 × 39 cm | 15 3/8 × 15 3/8 inches
Each (framed): 47.2 × 47.2 cm | 18 5/8 × 18 5/8 inches
Edition of 3 + 2 AP
Keith Arnatt
Self-Burial, 1969 (detail)
Keith Arnatt
Self-Burial, 1969 (detail)
Keith Arnatt
Self-Burial, 1969 (detail)
Keith Arnatt
Self-Burial, 1969 (detail)
Keith Arnatt
Self-Burial, 1969 (detail)
Keith Arnatt
Self-Burial, 1969 (detail)
Keith Arnatt
Self-Burial, 1969 (detail)
Keith Arnatt
Self-Burial, 1969 (detail)
Keith Arnatt
Self-Burial, 1969 (detail)
Keith Arnatt
Self-Burial, 1969 (detail)
Keith Arnatt
Self-Burial, 1969 (detail)
Keith Arnatt
Self-Burial, 1969 (detail)
Keith Arnatt
Self-Burial, 1969 (detail)
Keith Arnatt
Self-Burial, 1969 (detail)
Keith Arnatt
Self-Burial, 1969 (detail)
Keith Arnatt
Self-Burial, 1969 (detail)
Keith Arnatt
Self-Burial, 1969 (detail)
Keith Arnatt
Self-Burial, 1969 (detail)
In reframing our visual world through satire and playful mimicry, these works create space for both reflection and amusement.
Ceal Floyer
644, 2025
Inkjet on museum board
48.1 × 72 cm | 19 × 28 3/8 inches (framed)
Edition of 6 + 2 AP
Ceal Floyer
644, 2025 (detail)
Ceal Floyer
644, 2025
Inkjet on museum board
48.1 × 72 cm | 19 × 28 3/8 inches (framed)
Edition of 6 + 2 AP
Ceal Floyer
644, 2025
Inkjet on museum board
48.1 × 72 cm | 19 × 28 3/8 inches (framed)
Edition of 6 + 2 AP
Ceal Floyer
644, 2025 (detail)
Ceal Floyer
644, 2025 (detail)
The exhibition unfolds across a range of thematic clusters, from explorations of self-portraiture, the built and natural environment, and everyday objects (and sometimes combinations thereof). As visitors move through each room, they encounter groupings of artworks that invite questioning and reimagining of societal norms, gender identity, and the role of the artist.
John Waters
Art Market Research, 2006
C-print
55.9 × 85.7 cm | 22 × 33 3/4 inches
72.4 × 102.2 cm | 28 1/2 × 40 1/4 inches (framed)
Edition of 5
John Waters
Art Market Research, 2006 (detail)
John Waters
Art Market Research, 2006
Installation view, Seriously., Sprüth Magers, London, November 21, 2025–January 31, 2026
John Waters
Art Market Research, 2006
C-print
55.9 × 85.7 cm | 22 × 33 3/4 inches
72.4 × 102.2 cm | 28 1/2 × 40 1/4 inches (framed)
Edition of 5
John Waters
Art Market Research, 2006
C-print
55.9 × 85.7 cm | 22 × 33 3/4 inches
72.4 × 102.2 cm | 28 1/2 × 40 1/4 inches (framed)
Edition of 5
John Waters
Art Market Research, 2006 (detail)
John Waters
Art Market Research, 2006 (detail)
John Waters
Art Market Research, 2006
Installation view, Seriously., Sprüth Magers, London, November 21, 2025–January 31, 2026
While many of the artists included in this exhibition are traditionally associated with humour, such as John Baldessari and William Wegman, others are not. Humour is subjective; what one person finds funny may not resonate with another, depending on the context in which the object of hilarity is presented. Not all of the works included in this extensive exhibition were necessarily intended to be humorous by the artists who made them, nor will every viewer perceive them as such. Yet, in the context of an exhibition focused on humour, the underlying wit and clever punning within these works becomes apparent.
While many of the artists included in this exhibition are traditionally associated with humour, such as John Baldessari and William Wegman, others are not. Humour is subjective; what one person finds funny may not resonate with another, depending on the context in which the object of hilarity is presented. Not all of the works included in this extensive exhibition were necessarily intended to be humorous by the artists who made them, nor will every viewer perceive them as such. Yet, in the context of an exhibition focused on humour, the underlying wit and clever punning within these works becomes apparent.
Bruce Nauman
Studies for Holograms (a-e), 1970
Five screenprints
Each (framed): 77.2 × 77.2 cm | 30 3/8 × 30 3/8 inches
Edition of 150 + 10 AP
Bruce Nauman
Studies for Holograms (a-e), 1970
Installation view, Seriously., Sprüth Magers, London, November 21, 2025–January 31, 2026
Bruce Nauman
Studies for Holograms (a-e), 1970 (detail)
Bruce Nauman
Studies for Holograms (a-e), 1970 (detail)
Bruce Nauman
Studies for Holograms (a-e), 1970 (detail)
Bruce Nauman
Studies for Holograms (a-e), 1970 (detail)
Bruce Nauman
Studies for Holograms (a-e), 1970 (detail)
Anthony McCall
Water Table, 1972
Set of six gelatin silver prints
Each: 22.5 × 33 cm | 8 13/16 × 13 3/16 inches
Each (framed): 34.2 × 41.7 cm | 13 1/2 × 16 3/8 inches
Edition of 15
Anthony McCall
Water Table, 1972
Installation view, Seriously., Sprüth Magers, London, November 21, 2025–January 31, 2026
Anthony McCall
Water Table, 1972 (detail)
Anthony McCall
Water Table, 1972 (detail)
Anthony McCall
Water Table, 1972 (detail)
Anthony McCall
Water Table, 1972 (detail)
Anthony McCall
Water Table, 1972 (detail)
Anthony McCall
Water Table, 1972 (detail)
John Baldessari
Secret Handshakes, 1973
Five black-and-white photographs
Each: 27.9 × 35.6 cm | 11 × 14 inches
Each (framed): 28.6 × 35.9 × 3.2 cm | 11 1/4 × 14 1/8 × 1 1/4 inches
John Baldessari
Secret Handshakes, 1973
Installation view, Seriously., Sprüth Magers, London, November 21, 2025–January 31, 2026
John Baldessari
Secret Handshakes, 1973 (detail)
John Baldessari
Secret Handshakes, 1973 (detail)
John Baldessari
Secret Handshakes, 1973 (detail)
John Baldessari
Secret Handshakes, 1973 (detail)
John Baldessari
Secret Handshakes, 1973 (detail)
Bruce Nauman
Studies for Holograms (a-e), 1970
Five screenprints
Each (framed): 77.2 × 77.2 cm | 30 3/8 × 30 3/8 inches
Edition of 150 + 10 AP
Bruce Nauman
Studies for Holograms (a-e), 1970
Five screenprints
Each (framed): 77.2 × 77.2 cm | 30 3/8 × 30 3/8 inches
Edition of 150 + 10 AP
Bruce Nauman
Studies for Holograms (a-e), 1970
Installation view, Seriously., Sprüth Magers, London, November 21, 2025–January 31, 2026
Bruce Nauman
Studies for Holograms (a-e), 1970 (detail)
Bruce Nauman
Studies for Holograms (a-e), 1970 (detail)
Bruce Nauman
Studies for Holograms (a-e), 1970 (detail)
Bruce Nauman
Studies for Holograms (a-e), 1970 (detail)
Bruce Nauman
Studies for Holograms (a-e), 1970 (detail)
Bruce Nauman
Studies for Holograms (a-e), 1970 (detail)
Bruce Nauman
Studies for Holograms (a-e), 1970 (detail)
Bruce Nauman
Studies for Holograms (a-e), 1970 (detail)
Bruce Nauman
Studies for Holograms (a-e), 1970 (detail)
Bruce Nauman
Studies for Holograms (a-e), 1970 (detail)
Anthony McCall
Water Table, 1972
Set of six gelatin silver prints
Each: 22.5 × 33 cm | 8 13/16 × 13 3/16 inches
Each (framed): 34.2 × 41.7 cm | 13 1/2 × 16 3/8 inches
Edition of 15
Anthony McCall
Water Table, 1972
Set of six gelatin silver prints
Each: 22.5 × 33 cm | 8 13/16 × 13 3/16 inches
Each (framed): 34.2 × 41.7 cm | 13 1/2 × 16 3/8 inches
Edition of 15
Anthony McCall
Water Table, 1972
Installation view, Seriously., Sprüth Magers, London, November 21, 2025–January 31, 2026
Anthony McCall
Water Table, 1972 (detail)
Anthony McCall
Water Table, 1972 (detail)
Anthony McCall
Water Table, 1972 (detail)
Anthony McCall
Water Table, 1972 (detail)
Anthony McCall
Water Table, 1972 (detail)
Anthony McCall
Water Table, 1972 (detail)
Anthony McCall
Water Table, 1972 (detail)
Anthony McCall
Water Table, 1972 (detail)
Anthony McCall
Water Table, 1972 (detail)
Anthony McCall
Water Table, 1972 (detail)
Anthony McCall
Water Table, 1972 (detail)
Anthony McCall
Water Table, 1972 (detail)
John Baldessari
Secret Handshakes, 1973
Five black-and-white photographs
Each: 27.9 × 35.6 cm | 11 × 14 inches
Each (framed): 28.6 × 35.9 × 3.2 cm | 11 1/4 × 14 1/8 × 1 1/4 inches
John Baldessari
Secret Handshakes, 1973
Five black-and-white photographs
Each: 27.9 × 35.6 cm | 11 × 14 inches
Each (framed): 28.6 × 35.9 × 3.2 cm | 11 1/4 × 14 1/8 × 1 1/4 inches
John Baldessari
Secret Handshakes, 1973
Installation view, Seriously., Sprüth Magers, London, November 21, 2025–January 31, 2026
John Baldessari
Secret Handshakes, 1973 (detail)
John Baldessari
Secret Handshakes, 1973 (detail)
John Baldessari
Secret Handshakes, 1973 (detail)
John Baldessari
Secret Handshakes, 1973 (detail)
John Baldessari
Secret Handshakes, 1973 (detail)
John Baldessari
Secret Handshakes, 1973 (detail)
John Baldessari
Secret Handshakes, 1973 (detail)
John Baldessari
Secret Handshakes, 1973 (detail)
John Baldessari
Secret Handshakes, 1973 (detail)
John Baldessari
Secret Handshakes, 1973 (detail)
Keith Arnatt
Dog Toy, 1992
C-print, artist’s print
25.4 × 20.3 cm | 10 × 8 inches
34.3 × 28.4 cm | 13 1/2 × 11 1/8 inches (framed)
Andrea Robbins / Max Becher
Darth Vader, 2002
Archival inkjet print
46 × 58 cm | 18 × 22 7/8 inches
75 × 87 cm | 29 1/2 × 34 1/4 inches (framed)
Edition of 5 + 3 AP
Keith Arnatt
Dog Toy, 1992
C-print, artist’s print
25.4 × 20.3 cm | 10 × 8 inches
34.3 × 28.4 cm | 13 1/2 × 11 1/8 inches (framed)
Keith Arnatt
Dog Toy, 1992
C-print, artist’s print
25.4 × 20.3 cm | 10 × 8 inches
34.3 × 28.4 cm | 13 1/2 × 11 1/8 inches (framed)
Andrea Robbins / Max Becher
Darth Vader, 2002
Archival inkjet print
46 × 58 cm | 18 × 22 7/8 inches
75 × 87 cm | 29 1/2 × 34 1/4 inches (framed)
Edition of 5 + 3 AP
Andrea Robbins / Max Becher
Darth Vader, 2002
Archival inkjet print
46 × 58 cm | 18 × 22 7/8 inches
75 × 87 cm | 29 1/2 × 34 1/4 inches (framed)
Edition of 5 + 3 AP
Robert Cumming
Watermelon/Bread, 1970/2019
Archival pigment print
50.8 × 63.5 cm | 20 × 25 inches
51.7 × 64.6 cm | 20 3/8 × 25 3/8 inches (framed)
Edition of 5 + 2 AP
Robert Cumming
Watermelon/Bread, 1970/2019 (detail)
Peter Fischli David Weiss
Flirtation, Love, 1984
Gelatin silver print
30 × 40 cm | 11 7/8 × 15 3/4 inches
43 × 52.5 cm | 17 × 20 3/4 inches (framed)
Thomas Demand
Daily #37, 2024
Dye transfer print, framed
58.7 × 45.8 cm | 23 × 18 inches
67.5 × 54 × 5.2 cm | 26 5/8 × 21 1/4 × 2 inches (framed)
Edition of 6 + 1 AP
Louise Lawler
Vacuum Cleaner, 1988
Silver dye bleach print on museum box
69.5 × 100.6 cm | 27 3/8 × 39 5/8 inches
Edition of 5 + 1 AP
Robert Cumming
Watermelon/Bread, 1970/2019
Archival pigment print
50.8 × 63.5 cm | 20 × 25 inches
51.7 × 64.6 cm | 20 3/8 × 25 3/8 inches (framed)
Edition of 5 + 2 AP
Robert Cumming
Watermelon/Bread, 1970/2019
Archival pigment print
50.8 × 63.5 cm | 20 × 25 inches
51.7 × 64.6 cm | 20 3/8 × 25 3/8 inches (framed)
Edition of 5 + 2 AP
Robert Cumming
Watermelon/Bread, 1970/2019 (detail)
Robert Cumming
Watermelon/Bread, 1970/2019 (detail)
Peter Fischli David Weiss
Flirtation, Love, 1984
Gelatin silver print
30 × 40 cm | 11 7/8 × 15 3/4 inches
43 × 52.5 cm | 17 × 20 3/4 inches (framed)
Peter Fischli David Weiss
Flirtation, Love, 1984
Gelatin silver print
30 × 40 cm | 11 7/8 × 15 3/4 inches
43 × 52.5 cm | 17 × 20 3/4 inches (framed)
Thomas Demand
Daily #37, 2024
Dye transfer print, framed
58.7 × 45.8 cm | 23 × 18 inches
67.5 × 54 × 5.2 cm | 26 5/8 × 21 1/4 × 2 inches (framed)
Edition of 6 + 1 AP
Thomas Demand
Daily #37, 2024
Dye transfer print, framed
58.7 × 45.8 cm | 23 × 18 inches
67.5 × 54 × 5.2 cm | 26 5/8 × 21 1/4 × 2 inches (framed)
Edition of 6 + 1 AP
Louise Lawler
Vacuum Cleaner, 1988
Silver dye bleach print on museum box
69.5 × 100.6 cm | 27 3/8 × 39 5/8 inches
Edition of 5 + 1 AP
Louise Lawler
Vacuum Cleaner, 1988
Silver dye bleach print on museum box
69.5 × 100.6 cm | 27 3/8 × 39 5/8 inches
Edition of 5 + 1 AP
Humour is more than entertainment; it’s a powerful socio-political tool that acts as a lens through which to understand the strange or illogical aspects of our times. Seriously. celebrates this complexity and invites its audience to engage, think, and laugh.
All installation views: Ben Westoby / Fine Art Documentation
Seriously. features the work of Bas Jan Ader, Keith Arnatt, John Baldessari, Massimo Bartolini, Bernd and Hilla Becher, Lynda Benglis, Helen Chadwick, Robert Cumming, Thomas Demand, Philip-Lorca diCorcia, Braco Dimitrijević, Cao Fei, Hans-Peter Feldmann, Peter Fischli and David Weiss, Ceal Floyer, Tom Friedman, Dan Graham, Rodney Graham, Scott Grieger, Aneta Grzeszykowska, Sigurður Guðmundsson, Andreas Gursky, Barbara Hammer, Nancy Holt and Robert Smithson, Rebecca Horn, Douglas Huebler, Birgit Jürgenssen, Astrid Klein, David Lamelas, Louise Lawler, Natalia LL, Sarah Lucas, Urs Lüthi, Tom Marioni, Anthony McCall, Jonathan Monk, Peter Moore, Bruce Nauman, Joshua Neustein, Dennis Oppenheim, Géza Perneczky, Sigmar Polke, Charles Ray, Andrea Robbins and Max Becher, Ulrike Rosenbach, Thomas Ruff, Ed Ruscha, Cindy Sherman, Stephen Shore, Santiago Sierra and Franz Erhard Walther, Roman Signer, Laurie Simmons, John Smith, Martine Syms, Robert Therrien, Rosemarie Trockel, Keiji Uematsu, Ger van Elk, Mark Wallinger, John Waters, Gillian Wearing, Carrie Mae Weems, William Wegman, Hannah Wilke, Stephen Willats, and Christopher Williams.
Seriously.
Curated by Nana Bahlmann
November 21, 2025–January 31, 2026
Public Reception: November 20, 6–8pm
London
Sprüth Magers
7A Grafton Street
London, W1S 4EJ
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